The beach became a huge part of my life growing up. A lot of my influences and philosophies of life came from the ocean. It was a place where I could share everything freely. When I swim in the ocean, it does something very therapeutic to me.
I’ve experienced a lot of emotional extremes in my life. I almost lost my father. In fact, he was dead for 55 minutes until they revived him during the last defibrillation. There were also those times when my parents were going through their separation. The ocean was there for me then.
I had a very specific place. There was a reef I knew very well where I could fish. There were crayfish underneath. I knew everything about this spot. It was a place where I could go and just be. I would go there, reflect and let go. I would sometimes cry and be angry.
In Singapore, I do find places like the Botanic Gardens very soothing. There are little green areas that I like. When I was staying with a friend in Braddell, I’d go to MacRitchie Reservoir to run. It’s so tranquil and beautiful. You won’t feel like you’re in Singapore anymore. There’s so much silence. That’s a really beautiful place; it’s a place you can really let go.
Even in your own room, you can find your own space. You shut everything out. You create the space for yourself. If you can’t find it, you create it.
I flew to LA in 2009 to go for casting auditions. The housemate that I was living with works as a lighting guy on the set of the Desperate Housewives. He took me to the back lot where they were filming. I went and suddenly I was on Wisteria Lane. I was making genuine friends with all these people and they were telling me all their stories. It was magical. I thought to myself, “Wow, this whole process is no different from anything else that I’ve done except the scale.”
I have this affiliation to music that I can’t comprehend. I didn’t know how to play the piano but I learned how to play it four years ago just by sitting there. Something just called me. It’s the same with the guitar. It was never something that I went to school for. It was something that just happened. To me, music is a very personal thing.
Acting is a very giving craft because it involves respect and consideration for the other actor. It’s not just about what you’re trying to achieve. Even when the camera’s not on me during filming, I would still be there.
Once, I was on a shoot and we had to wait an hour and a half because the make-up artist fell asleep. That irritated the f*** out of me.
One time I had no money. None. I had to invent a job so I decided to wash windows. I was having dim sum and I noticed that the windows of this restaurant in Australia were dirty so I went up to the counter and said, “Hey, your windows need washing. I gave her my number and she called me two minutes later and said, “Come on Monday.”
My very first serious relationship was in high school. I was in my English class, looked out the door, saw this girl and fell in love with her. I didn’t even know her name. I just saw her and fell in love with her. I was with her for three months until she went on holiday with her family. We met again 12 years later and we’ve been together for four years now. Everything came back. Nothing changed. Hey, magic happens.
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How important was your time in New York?
When I first went to the Paradise Garage club in ‘85, it was a very unique atmosphere. Towards the end of the 80s, the experience playing with Larry Levan (in the US) gave me lots more energy and since then I have kept playing house music in Japan. Little by little, what I did infiltrated the scene (in Japan) and in the 90s, the movement accelerated. Rather than me building anything in New York, I know some people evaluated my work through me bringing down house music to the Japanese scene.
What was last year like for you?
I played in Seoul and Hong Kong in 2010 for the first time. I met many people and experienced an emerging Asian scene.
Define your music style and what about it appeals to you.
I just love good music. I play any music in which I love its lyrics, sound qualities and grooves.
You will be playing at the Amex Asian Masters and on the same day chef Shigeru Shiraishi of Takumi restaurant will be cooking up a feast. Are you a foodie?
Yes I am! I love any kind of food but I am the kind of person who is loyal to restaurants which have their own unique style.
Are there any similarities in DJing/producing and cooking?
Just like the best cooking ingredients, we all love music that has been taken good care of in its production. And we love it for a long time afterwards!
How do you think electronic dance music has grown in Asia over the years?
It’s not like the old days anymore. It’s been growing on a global basis. I am sure we can expect much more growth in the next few years.
What would you like to see more of in Asia’s music industry?
I would like to see Asian people cooperate with each other more and build a good organic music scene.
What are some of your favorite tracks at the moment and why?
It’s not a track but I was smashed with Herbie Hancock‘s latest album The Imagine Project simply because it just sounds great.
How does 2011 look for you?
Well, I’ve already been invited to Singapore and it’s wonderful. I would love to spread my work more outside of Japan.
What can we expect from your gig at Privé?
You can all expect comfort, great vibes and grooves generated by my music.
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What sort of audio-visual art gets you all hot and bothered?
That’s an interesting way of putting it. Gaspar Noé’s film Enter the Void is one of the most important works out there right now as far as I’m concerned. It hits very close to home in so many ways, delving into the psychedelic experience, life and death. Everyone should see this movie!
How do you marry the different elements of audio and visual so seamlessly?
In many ways that is the Holy Grail for a lot of us. There are more and more people incorporating visuals into their audio sets, and it is always an incredible challenge making everything synthesize in a natural way. I feel that the climate for this sort of thing is really great now for live-cinema. There are so many possibilities, and the technology is really catching up to what a lot of us have been dreaming about.
Why the name Strangeloop?
A “Strangeloop“ is like a Mobius strip. It’s a tangled hierarchy wherein one can travel from one point in the hierarchy to another and get back to where you started. I feel that life and nature is like this. It is cycles within cycles, which to me, is one of the most beautiful and frustrating things about life. We lose ourselves and find ourselves, over and over again. We are in a continual process, and to me the idea of a “strange loop“ embodies a lot of that. In other words, as Douglas Hofstadter put it, “I am a strange loop.”
Some visual artists struggle to make their audience “get” where they are coming from. Does that concern you?
Often I’m kind of searching in the dark, I don’t know what people will think of what I’m doing, but within it is some sort of multi-faceted question that I feel I have to ask. I’m searching for new ways of thinking, deeper currents in the world. The work, most of the time, is like therapy. I’m searching for a way out of these apocalyptic times, a way out of how my culture has programmed me, a way to inform myself. Then sometimes, it’s just there, I don’t need a way out, because there is nothing to get out of. I’m complete within a creative process and satisfied.
Where do you “go” to create your work?
I go to a lot of places, but wherever I am, it’s always about tuning into this current. A frequency. It’s that inward place where your imagination runs wild, and you’re just taking notes—in the form of music, visual art, etc. It’s tuning into those worlds that unfold in front of you, without any effort, without any expectations. It’s a place in my mind, where all things fit together in a kind of cosmic puzzle, and just as easily come undone in a din of broken images and sounds.
Do you feel that artists appreciate artists more than the neutrals do?
I think this is an interesting term “neutrals.” When I think of America, on many levels, I think of a neutralized nation. The zombie archetype comes to mind when trying to understand what has happened to us through our relationship with mass media. I used to have nightmares about zombies all the time, and then I finally realized that I was the zombie, that this was our national condition. A kind of over-stimulated catatonic stupor; we’re put under a spell by mass media, turned into amnesiacs with no history or future. The game in modern America is: How do you break out of that?
How do you?
I think people are innately creative. I think the notion of creative people and non-creative people is a myth. If there is any sensible purpose for us being here, in my mind, it is to create. We need to create systems that support that. More than just please people, artists or not. To me, art is an evolutionary pursuit, rooted in a desire to play and evolve through the act of playing.
What can we expect from your Syndicate gig at Home Club?
I’ve never been to Singapore but I am very excited. I have heard great things and am very curious. Something different ... but I’m not sure what yet. We can find out together.
Immerse yourself in a rare audio-visual spectacular from Dr. Strangeloop at Syndicate’s F1rst Ann1versary on Feb 5, 10pm. Home Club, #B1-01/06 The Riverwalk, 20 Upper Circular Rd. 6538-2928. $15 includes one drink.
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How did the band get together?
We were already playing in other rock and indie bands before Holy F***. I always had this creative need within (when playing with other bands) to make something different and also to have a band that we can have fun in. So the idea really was to create a band that allows us to experiment with music and sound collages, and to make crazy improvisation with kooky equipment.
Have you ever felt that your experimental streak has been exhausted?
Well, that only means that I am not working hard enough. My creativity comes in sparks and I need inspiration to create. That doesn’t mean heading into isolation; it’s about thinking more, trying out new things, meddling with equipment—basically being an alchemist of sound. You’ve also got to remind yourself sometimes that it’s fun and you can’t be afraid of failing or coming out with something really stupid.
You guys travel a lot, does that affect your creative process?
It definitely affects it. When we are on a long tour, we usually end up playing the same set night after night—and sometimes we feel like we’ve got ourselves in a rut. But within that, there are little pockets of creativity that we must find and that helps the creative process when we head into the studio.
Do you write your music on the road or are you guys more studio-orientated?
On a grander scale, it is not like we write an album on the road because we can’t set up all our equipment wherever we go. I can’t just simply spread out all my keyboards and gadgetry like I do in my basement. We don’t have that luxury. So we do most of our work in the studio.
How has the band evolved between your eponymous debut in 2005 and 2010’s highly acclaimed Latin?
It was a slow evolution. For the first album, we had no idea what we were doing—honestly. We just made sound and played around with whatever equipment we had and released it as such. We toured a lot on the release of our second album and that grew us up in a way. Latin was a lot more focused. The band had a sense of continuity since Brian Borcherdt and Matt Schulz have been with us for over two years, and we recorded the album in the same studio we did for the last two albums. It gave us a chance to pick up from where we left off instead of starting again from scratch.
Have you ever been to Singapore?
Never! That’s why I am really excited to come. I never even heard of the place before (laughs).
What can your fans over in Singapore expect?
It will be a loud chaotic show!
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You guys returned to Glastonbury Festival in 2010 after an eight year hiatus—why the comeback?
After playing second headline to Coldplay in 2002 we didn’t think it could get much better, and indeed we turned down other slots we were offered at Glastonbury over the years. But in 2010 after the release of our sixth studio album The Dance, we were asked to play the second headline to Stevie Wonder, again on the main stage. To close the festival on its 40th anniversary and to play before one of the greatest artists of all time was such an honor—we really wanted to play the best set of all time.
What was it like playing just before the legend?
He has been making hit records since he was a child, has a career that spans generations, and has overcome so much in his life—a real star. So it was a very humbling experience to even breathe the same air! He is one of Maxi’s all time heroes too, so he was particularly blown away that we were asked to play that set—his mum was very proud!
What was the approach towards the making of The Dance?
It was very relaxed, and we felt very positive as our deal with a major label had ended so we decided to release it ourselves in our own time, as the creative process dictated.
This is your sixth studio release—was there pressure to emulate the success of charters Outrospective and No Roots?
This time, as it was released on our own label there was no external pressure from the label’s point of view but there is always that internal pressure to make the best music you can make, to move on with your sound, to reach as many people as possible without diluting your message or being cheap and cheesy.
Is this a return to your club roots?
We absolutely wanted to make an album that reconnected with our club roots, and to deliver the anthemic side of Faithless we know people love, as there is no better feeling than watching a crowd go nuts to your song in a club or at a rave. And we were aware that our last two albums were a departure from that sound, more mellow and reflective. So it felt like the right time to step back into the fray!
Maxi Jazz has been commended by critics and fans alike for his positive lyrics. Where does his inspiration come from?
His Buddhist faith impacts on his lyrics as it informs his whole perspective on life.
Dido seems to fit in with Faithless perfectly.
She is family, so it was really easy to work with her. She has great melodic ideas and it’s a pleasure to create music for her to write songs with. She also found her initial success with Faithless; she was on tour with us for the first tour, and has performed on all six of our albums.
Read our 2006 interview with the band
How has the band evolved over the years?
I think the same things matter even more now than in 1995; friendships, and family especially as we have had to spend so much time away from them over the last 15 years. Being in a band is quite tough on relationships, and these are the things that keep us grounded so we definitely try to build our touring schedule in a more family-friendly way now than when we started! Musically, I think we've always wanted to stay relevant, and my DJing around the world allows us to keep in touch with what’s going down on the club scene.
It's the first visit for the group but you've been here many times ...
I have been here many times to DJ at Zouk and every time I'm here, I am overwhelmed by how friendly everyone is, and how passionate and knowledgeable they are about electronic music.
What can we expect from your upcoming gig in Singapore?
It’s a full-on live experience—an eight-piece live band playing music from all six of our studio albums with energy and passion!
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Having lain low since the label Song&Kelly disbanded in 2007, this much-missed designer will launch his first seasonal menswear collection Wykidd next month at his atelier in Mount Sophia. He spoke to us about contemporary menswear and his upcoming collection prior to its release.
What’s the biggest shift in menswear you’ve observed over the years?
That men are more aware of fashion and slowly catching up with their girlfriends and wives when it comes to shopping for their wardrobe. They also know what a Birkin or an Alexa is today. They are also more willing to try new trends such as drop crotch pants or skinny jeans. Plus, there’re more colors to men’s dressing too, especially in major cities around Asia such as Seoul and Shanghai, where men actually spend more than women. It is an upward trend and makes the scene a lot more interesting for designers like myself as I am more willing to try certain designs in menswear now than I would have, say, five years ago.
How have your design aesthetics evolved and grown over the years?
It’s cleaner, utilitarian, and more attention is paid to refined finishing and details that are very personal to the wearer.
What can you tell us about your upcoming ready-to-wear collection?
It’s my Spring/Summer 2011 collection entitled ”Exposed,” which is inspired by the dance of light and shadow. The direction is influenced by Helmut Lang, Comme des Garçon and the tradition of mens tailoring and artisanal precision finishing and craft. The style is mostly casual with outstanding details that give it an air of distinction. Pieces include soft tailored jackets with hand laced shirt details and tees with edgy prints: It’s the refined tropical style that we so need in our summers to come.
Is it an extension of sorts from your current bespoke pieces?
Well it’s certainly an extension of me and what I’m about: In terms of fluidity in design, which is what my dresses are about, so yes.
What looks appeal to you and what are you inspired by these days as both a consumer and designer?
Anyone who dresses with confidence, whether it’s in fashion or in season, appeals to me. Someone who bothers to dress according to the occasion or even if it doesn’t call for dressing but they do. I love seeing people spinning their own idiosyncratic style on themselves, which totally inspires me—especially here where we tend to be more conservative. More and more art also plays a very important part in my work.
What do men look for in a collection these days and what should they be looking out for?
Cloth, cut and value that they can feel. There’s so much out there and if men have slightly more to spend on themselves, then I advise them to look for designs that have been worked on by hand but seem so effortless. Like my blazers and shirts, which are very limited in numbers with artisanal finishing in each one.
Famous last words?
You are what you wear.
Wykidd Song’s made-to-order blazers and jackets are available now via www.wykidd.com while “Exposed” will be released in February 2011.
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Adrian Pang, Actor
The worst pick up line I ever heard was…”Are you Jamaican? Cos Jamaican me crazy!”
My worst date ever was…when I was 18, I chatted up this really cute sales assistant at a shop in Parkway Parade; asked her out for a drink when she knocked off work; and in the middle of our date, her boyfriend and his five buddies interrupted us, beat me up and rob me. Till now, she’s “the one that got away”.
Valentine to me is…over-priced jewellery.
Ginette Chittick, DJ and label founder & owner, FrüFrü & Tigerlily
The worst pick up line I ever heard was… "Hey sexy" whispered to me by an old man taking a rest on a stone chair. Don’t know which was worse, the fact that he whispered to me or that pick up line.
My worse date ever was… ages ago when I went to watch Blair Witch Project. I walked out half way with a bout of motion sickness as I was seated quite close to the screen!
Valentine to me is… a day to spend with a loved one, it could be cooking a meal together! I am not one of the jaded ones who'll put it down as an opportunity for restaurants and florists to make money. I'm a hopeless romantic and I think it's nice to have another excuse to celebrate one's love for the other, even though I buy gifts for my boyfriend every now and then.
Lauretta Alabons, Founder/Owner, LAMC
The worst pick up line I ever heard was…”Weren’t you in that photo with my friend?” It’s bad because it makes you reply to it even if it wasn’t true.
My worst date ever was…I’ve been married for so long; I can’t remember!
Valentine to me is…another day. My husband and I work together and we constantly see each other everyday; not many people have that. I don’t need my husband to waste his money on gifts or dining in an expensive restaurant because to me Valentine is everyday.
Holly Grabarek, VJ, MTV
The worst pick up line I ever heard was…”What are you?” Uh, not yet 21.
My worst date ever was…at the beach! Sand in my pants makes it for me to think of anything else.
Valentine to me is… a chocolate fountain with marshmallows. That would me make me very happy!
Pat Law, Social Media Specialist, Goodstuph
The worst pick up line I ever heard was…None. I don’t get picked up, sadly enough.
My worst date ever was…for some reason, I agreed to go on a blind date with this person. The person was late for over an hour, and looked so hungover, I thought of calling the ambulance. Naturally, the conversation was limited and as soon as I found out the person worked for a brand I fancied, I tried pitching for the business! How classy of me. Needless to say, we never kept in touch since.
Valentine to me is…the only reason why guys would even subject themselves to holding ugly big teddy bears in public.
Tracy Phillips, Founder & owner, Present Purpose
The worst pick up line I ever heard was… I saw you in a magazine; can I get to know you?
My worst date ever was… so dull my eyes had glazed over by the time the main course arrived. The lesson learned: first dates warrant drinks only.
Valentine to me is… insignificant but I won't say no to chocolate.
Timothy Chia, Events & Marketing Manager, Zouk
The worst pick up line I ever heard was…the "hello" that was uttered by the random naked man who came up to me and my friends at a beach party in Scotland (read: freezing cold weather!). Needless to say, we quickly left the scene.
My worst date ever was…when I flew to a different country to meet this person I fancied at the time and found out at dinner that she had just gotten back with her ex on the same day I arrived. Thank goodness I was staying with a mate in that country!
Valentine to me is…a reason for the florists and chocolatiers to make big bucks. It's okay to express your love on other days of the year too, not just on the Feb 14, people!
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Technique & medium: Polaroid print.
Why No Superego?
My style of photography has always been raw and edgy. It’s stripped loose of any technicalities and external factors. I’m interested in human bodies and my specialty is nude photography, so this is a fitting title for the show.
What’s going on in this image? Who are the couple?
I met them when I went back to visit my hometown in Korat. I was a bit surprised when they told me that they’re actually cousins, and have been together for three years. I took it not because I wanted to be controversial, but rather because of how interesting incest is. It’s considered a taboo, yet it does exist in every level of society and every walk of life.
Your works are quite risque, how do you deal with censorship?
I’ve been very lucky as I’ve never had to deal with censorship or harsh criticism before. People come to see my show expecting to see nudity. Those who are not familiar with what I do say that my works are honest. I’m not afraid that my works will be misinterpreted, because they are not intended for anyone to get a hard-on. In a sense, I try to create a utopia where everything is pure and organic.
Where do you find the models?
Believe it or not, I never have to pay for models. They’re all my friends. We work together on the understanding that this is art not pornography.
Your photographic flair has been compared to Apichatpong’s cinematic style, why do you think that is?
I think we both like to make the most out of whatever settings we find, and we try not to alter them for the sake of our works. My landscape pieces show the nature as it is whereas the nude photos show human beings and their emotions as they are.
Catch photographer Tada Hengsapkul with his Solo Exhibition "No Superego"
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Can you tell us about the project?
It’s an annual tradition for the final year drama students to put on a full-scale production in order to graduate. We call it lakorn kornjob [drama before graduation]. This year there will be two productions, The Good Body and R.U.R: Rossum’s Universal Robots.
Why did you choose to do Eve Ensler’s The Good Body?
I was looking to do something that would challenge me as an actress and hold my interest at the same time. In this book, Eve encounters seven women of different backgrounds who tell her their struggles of self-acceptance and issues with body image. That’s exactly the kind of thing I find intriguing. And to portray all of these women in one production is a perfect challenge any actress could ever ask for.
How difficult is it to play seven different characters?
It’s a big responsibility to take on, but I made sure I took my time to get to know each character properly before moving on to the next. It’s a tough process, but I’ve now managed to get through most of the characters. The rest shouldn’t be a problem.
What’s next for you?
I’ll definitely pursue acting. Acting on a stage has that unique power of informing and educating. It’s not just about entertainment.
Keeping up with Thiptawan Uchai at The Good Body on stage
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Why open a restaurant in Singapore?
Why not? I’ve been to Singapore about ten or so times, and I love it. I wouldn’t open a restaurant in a city I didn’t like. This is a good city for food and ingredients and it’s very cultured. I think the people here really know, love and respect great food and have a good palate. But location was important for me. I looked for three years, even at Resorts World Sentosa and Marina Bay Sands. Finally, this came up and we thought this [atop ION Orchard] was the best one.
Some chefs have difficulties finding ingredients as Singapore doesn’t have a lot of our own local produce. How did you deal with that?
What Salt grill is all about is Australian seafood and meat, but using local fruits and veg. I think what Singapore’s got in terms of that is fantastic and that’s what the perfect marriage is all about—bringing those two things together and showcasing them both.
Did you think about the local palate in creating the menu?
No. That’s not being arrogant but I think Salt grill is simple enough that it won’t offend. I wouldn’t dream of telling a Chinese cook to put Australian influences in their cooking. We are what we are.
What inspires you?
I believe in keeping it simple. Let the ingredients speak for themselves and try not to mask the flavors of the food, like a great piece of beef. I don’t like fancy, rich food; I like light, healthy, clean food. I’m also very lucky to be able to travel. So I’m always going to different markets and learning when I eat other people’s food. You might pick up one little component and you might be able to use it somewhere.
Salt grill, 55/F ION Orchard, 2 Orchard Turn, 6592-5118. Open daily 11:30am-3pm, 6-10:30pm.
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